The director's recent work may have revitalized the concept of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw a cue from his predecessor, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and thought-provoking all at once, earning its position in the hall of fame by juggling all three while respecting the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a dark creature leap from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting the tone for a movie that handily balances scares and laughs.
Directorial Ambitions
Recently after his last installment in the iconic horror series, Craven was keen to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). At the same time, the star aimed to defy assumptions by diving into a pure scary movie based on Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. One of Black cinema’s most praised performers, she gives a powerful performance alongside her co-star, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when employed by other actors).
Gothic Intrigue
When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her faith.
As the plot unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a final section packed with temptation, as mortality and damnation are at stake. The film ends with a teaser hinting at a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon release. As years passed, it found new life as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The film shows moments of brilliance that could have been more prominent had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but influential film characterized by its bold style and memorable acting.
